Robert Zemeckis is a blockbuster director at heart. Action has never been an issue for the man behind Back to the Future. When he puts aside the high concept adventures for emotional human stories — think Forrest Gump or Cast Away — he still goes big. His latest Flight continues the trend revolving the story of one man's fight with alcoholism around a terrifying plane crash. Zemeckis expertly crafts his roaring centerpiece and while he finds an agile performer in Denzel Washington the hour-and-a-half of Flight after the shocking moment can't sustain the power. The "big" works. The intimate drowns.
Washington stars as Whip Whitaker a reckless airline pilot who balances his days flying jumbo jets with picking up women snorting lines of cocaine and drinking himself to sleep. Although drunk for the flight that will change his life forever that's not the reason the plane goes down — in fact it may be the reason he thinks up his savvy landing solution in the first place. Writer John Gatins follows Whitaker into the aftermath madness: an investigation of what really happened during the flight Whitaker's battle to cap his addictions and budding relationships that if nurtured could save his life.
Zemeckis tops his own plane crash in Cast Away with the heart-pounding tailspin sequence (if you've ever been scared of flying before Flight will push into phobia territory). In the few scenes after the literal destruction Washington is able to convey an equal amount of power in the moments of mental destruction. Whitaker is obviously crushed by the events the bottle silently calling for him in every down moment. Flight strives for that level of introspection throughout eventually pairing Washington with equally distraught junkie Nicole (Kelly Reilly). Their relationship is barely fleshed out with the script time and time again resorting to obvious over-the-top depictions of substance abuse (a la Nic Cage's Leaving Las Vegas) and the bickering that follows. Washington's Whitaker hits is lowest point early sitting there until the climax of the film.
Sharing screentime with the intimate tale is the surprisingly comical attempt by the pilot's airline union buddy (Bruce Greenwood) and the company lawyer (Don Cheadle) to get Whitaker into shape. Prepping him for inquisitions looking into evidence from the wreckage and calling upon Whitaker's dealer Harling (John Goodman) to jump start their "hero" when the time is right the two men do everything they can to keep any blame being placed upon Whitaker by the National Transportation Safety Board investigators. The thread doesn't feel relevant to Whitaker's plight and in turn feels like unnecessary baggage that pads the runtime.
Everything in Fight shoots for the skies — and on purpose. The music is constantly swelling the photography glossy and unnatural and rarely do we breach Washington's wild exterior for a sense of what Whitaker's really grappling with. For Zemeckis Flight is still a spectacle film with Washington's ability to emote as the magical special effect. Instead of using it sparingly he once again goes big. Too big.
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.

While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
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In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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Comic-Con. The mecca of pop culture.
Movies, TV, Comic and Gaming enthusiasts will gather in the temperate California town for a five-day, pop culture extravaganza, where the top dogs in every field come to showcase their latest and greatest products. Whether it's the Hall H premiere trailer of a new summer blockbuster, the cast meet and greet in Ballroom 20 for the hot new TV show or just a sit down with some insightful creator-types in a dark and dingy backroom, SDCC is always full of surprises and this year looks to be no different.
We'll be there on the ground floor picking up all the news bites as they break, but you can check out the schedule for the first two days below -- and better prepare for the onslaught of updates!
Friday, July 22
10:00-11:00 LEGO Star Wars— A behind-the-brick look with the LEGO Star Wars team at how the epic Star Wars story comes together with the creativity and imagination of the LEGO brand. Additionally, be among the first to hear about a special LEGO Star Wars entertainment event, and meet Emmy award-winning writer Michael Price. Also includes Q&amp;A time. Room 7AB
10:00-11:00 Torchwood: Miracle Day— John Barrowman (Doctor Who) and Eve Myles (Doctor Who) join cast members Mekhi Phifer (ER), Bill Pullman (Independence Day), Alexa Havins (All My Children), and Lauren Ambrose (Six Feet Under), along with writer Jane Espenson (Battlestar Galactica), to discuss the fourth installment of the hit BBC Worldwide show, a Starz Originals co-production, currently airing Friday nights at 10 ET/PT on Starz. Ballroom 20
10:15-11:15 Star Trek: The Captains— William Shatner is joined by fellow Star Trek captain Avery Brooks to present a preview of the EPIX Pictures original documentary produced and directed by Shatner, in which he travels the world to interview all the actors who've played Starfleet captains. This lively discussion and Q&amp;A session is moderated by Comic-Con fave Kevin Smith. Room 6BCF
10:30-11:30 Locke &amp; Key FOX Pilot Screening— The most talked-about pilot not on the fall schedule was the FOX production of Locke &amp; Key. This screening of the entire pilot will show you just what a void there will be on your TVs this fall. Watch the special filmed adaptation of Welcome to Lovecraft, and see the Eisner-nominated comic brought to life. Can't get in to see it this morning? Don't worry...there's a rescreening tonight at 9:15 in Room 6DE! Room 8
11:00-12:00 Radical Publishing— Radical will announce its imprint deal with Sam Worthington's production company, Full Clip, and introduce the writers and artists working on those projects. Panelists include Sam Worthington (Avatar), John Schwarz and Michael Schwarz (Full Clip Productions), Rick Remender (The Last Days of American Crime), Joshua Dysart (Unknown Soldier), Leonardo Manco (Hellblazer), and Radical Studios president Barry Levine. Radical will also give the inside scoop on Sam Worthington's attachment to Rick Remender's The Last Days of American Crime. Room 24ABC
11:00-12:00 Paramount: The Adventures of Tin-Tin— TBA Hall H
11:15-12:15 AMC's The Walking Dead— Stars Andrew Lincoln (Love Actually), Jon Bernthal (The Pacific), Sarah Wayne Callies (Prison Break), Laurie Holden (The Mist), Norman Reedus (The Boondock Saints), Steven Yeun (The Big Bang Theory), Jeffrey DeMunn (The Green Mile); series creator/writer/director/executive producer Frank Darabont (The Shawshank Redemption); executive producer Gale Anne Hurd (The Terminator); executive producer Robert Kirkman (creator/writer of The Walking Dead comic book series); and makeup artist and consulting producer Greg Nicotero discuss the success of season one of AMC's series The Walking Dead and reveal what to look forward to in season two, which will air on AMC this Fall. Join the panelists for a one-on-one Q&amp;A session and an official sneak preview of season two. Ballroom 20
11:30-12:30 Halo Universe— Frank O'Connor, Kevin Grace, and others from 343 Industries, as well as special Halo guests Greg Bear and Karen Traviss, discuss the first 10 years of Halo and offer a sneak peek into what's next for this exciting sci-fi universe. Room 6BCF
11:30-12:30 Locke &amp; Key Panel— Make your plans to watch the Locke &amp; Key TV pilot at 10:30, then join Eisner-nominated creators Joe Hill and Gabriel Rodriguez, along with Locke &amp; Key TV pilot writer Josh Friedman, for a frank discussion of the show, the comic, and what's coming up in Clockworks, the second-to-last story arc in the acclaimed series (or is it?). Room 8
11:45-12:45 Nickelodeon &amp; DreamWorks Animation: Kung Fu Panda: Legends of Awesomeness— The bodacity continues as Po the panda punches his way onto a new animated series. Executive producer Peter Hastings and supervising producers Randy Dormans band Gabe Swarr present an exclusive sneak peek into the new series by Nickelodeon and Dreamworks. This panel will also include select moments with voice cast members Mick Wingert (Kung Fu Panda Holiday Special), James Hong (Kung Fu Panda 2), Kevin Michael Richardson (Penguins of Madagascar), and John DiMaggio (Penguins of Madagascar), followed by a screening. Moderated by Megan Casey, executive in charge for Nickelodeon. Room 6A
12:00-1:00 ABC Family: The Nine Lives of Chloe King— An exclusive sneak peek of an upcoming episode of The Nine Lives of Chloe King, followed by a Q&amp;A session with the cast and producers. The cast in attendance includes Skyler Samuels (The Gates) as Chloe King, Amy Pietz (The Office) as Meredith King, Grey Damon (True Blood, Friday Night Lights) as Brian, newcomer Grace Phipps as Amy, Benjamin Stone (Albus Dumbledore in the Harry Potter video game series) as Alek, Alyssa Diaz (Shark Night 3D) as Jasmine, and Ki Hong Lee (The Secret Life of the American Teenager) as Paul. The executive producers are Dan Berendsen and, from Alloy Entertainment, Gina Girolamo. The Nine Lives of Chloe King airs Tuesday nights at 9/8c on ABC Family. Room 23ABC
12:15-1:15 Relativity Media: Raven and Haywire— Two fantastic films from Relativity Media debut in this Hall H presentation.Raven -- The film is a gritty thriller in which Edgar Allan Poe joins forces with a young Baltimore detective to hunt down a mad serial killer who's using Poe's own works as the basis for a string of brutal murders. Raven stars John Cusack as Edgar Allan Poe, Luke Evans, and Alice Eve and is directed by James McTeigue.Haywire -- An electrifying tale of espionage and betrayal. A female covert ops specialist who works in the deadly world of international operatives strikes back after discovering she's been double-crossed by someone close to her in the agency. Mixed martial arts superstar Gina Carano makes her feature film -- and Comic-Con -- debut, starring and performing her own high-adrenaline stunts. Also appearing is director Stephen Soderbergh.
Hall H
12:30-1:30 The Big Bang Theory Screening and Q&amp;A— Dr., Dr., Dr., Dr., Dr., Mr., Miss...See everyone's favorite scientists (and engineer and waitress) from The Big Bang Theory as the show's producers and stars return to San Diego with a special screening and Q&amp;A. Executive producers Chuck Lorre (Two and a Half Men), Bill Prady (Dharma &amp; Greg), and Steve Molaro (iCarly) join stars Johnny Galecki (Roseanne), Jim Parsons (Garden State), Kaley Cuoco (Charmed), Simon Helberg (Dr. Horrible's Sing-Along Blog), Kunal Nayyar (NCIS), Mayim Bialik (Blossom), and Melissa Rauch (True Blood) for a fun and lively discussion. From Chuck Lorre Productions, Inc. in association with Warner Bros. Television, The Big Bang Theory airs Thursdays at 8/7c on CBS, and The Big Bang Theory: The Complete Fourth Season will be released on Blu-ray and DVD on September 13. Ballroom 20
12:45-1:45 Legendary Pictures: Preproduction Preview— Legendary Pictures holds its first-ever Comic-Con panel and shares an early look at some of the movies on the company's upcoming film slate. Fans will be able to access Legendary's plans, garner sneak peeks at their movies in preproduction, and hear from filmmakers and cast members from the upcoming Pacific Rim, Seventh Son, Paradise Lost, and Mass Effect. Panel participants include Jeff Bridges, Bradley Cooper, Guillermo del Toro, Ben Barnes, Charlie Hunnam, Idris Elba, Alicia Vikander, Alex Proyas, Sergei Bodrov, Travis Beacham, Mark Protosevich, and Casey Hudson. Room 6BCF
1:30-2:30 Screen Gems: Underworld 4— Underworld 4 brings a stunning new dimension to the epic battle between Vampires and Lycans as the first film in the franchise to shoot in 3D. Kate Beckinsale, star of the first two films, returns in her lead role as the vampire warrior Selene, who escapes imprisonment to find that humans have discovered the existence of both Vampire and Lycan clans and are conducting an all-out war to eradicate both immortal species. Appearing in person are Kate Beckinsale, Michael Ealy, Len Wiseman (producer and director of Underworld and Underworld: Evolution), and directors Mans Marlind and Bjorn Stein. Hall H
1:30-2:30 Adult Swim: Childrens Hospital— See a never-before-screened episode of Childrens Hospital and hear from the show's creative team led by Rob Corddry (Cedar Rapids) and Jon Stern (The Ten). They will be joined by members of their ensemble cast of comedic heavyweights, including Malin Akerman (Couples Retreat), Lake Bell (No Strings Attached), Erinn Hayes (Parenthood), Rob Huebel (I Love You Man), and Megan Mullally (Will and Grace). Childrens Hospital explores the emotional struggles and sexual politics of a group of doctors charged with healthy libidos. The panel will close with a sneak peek at Adult Swim's newest live-action comedy, NTSF:SD:SUV::, featuring creator and star Paul Scheer (The League). NTSF:SD:SUV:: is a clandestine team of government agents working to protect San Diego from numerous terrorist threats coming in daily from such evil countries as Mexico, Canada, and Guam. This team of highly trained operatives has only one job: saving your ass so you can drive your Prius and see your movies in 3D without worrying about living in a country run by no-good terrorists. Indigo Ballroom, Hilton San Diego Bayfront
1:45-2:45 Bones— Creator/executive producer Hart Hanson, executive producer Stephen Nathan, and stars David Boreanaz and Emily Deschanel discuss the shocking finale of Bones Season 6 as well as what's in store for Booth and Brennan in an exciting Season 7! Hanson will also introduce the audience to the stars of The Finder, his new FOX series premiering in January. Plus, Q&amp;A! Ballroom 20
2:00-3:00 Green Lantern: The Animated Series Video Presentation and Q&amp;A— Warner Bros. Animation brings the Green Lantern to television in a new CG-animated action series for Cartoon Network from world-renowned producer, artist, and animator Bruce Timm (Batman: The Animated Series). Based on the DC Comics superhero, Green Lantern: The Animated Series centers on Hal Jordan and his partner Kilowog, who find themselves alone on the edge of the Guardian Frontier fighting off an invasion by the deadly Red Lantern Corps. Timm headlines a panel -- moderated by Warner Bros. Animation's Sam Register (Teen Titans) -- that also features producer Giancarlo Volpe (Star Wars: The Clone Wars) and producer/story editor Jim Krieg (Ben 10: Alien Swarm). In addition to the Q&amp;A, fans in attendance will be treated to footage prepared exclusively for Comic-Con. Don't miss out, or you'll be waiting 'til 2012! Room 6BCF
2:15-3:15 Exclusive Screening of ABC's Newest Supernatural Series, The River— From the studio that brought you Lost comes a new adventure set deep in the Amazon. Executive producers Oren Peli (Paranormal Activity), Michael Green (Green Lantern), and Zack Estrin (Tru Calling), along with cast members Joe Anderson (The Twilight Saga: Breaking Dawn), Eloise Mumford (Lone Star), and Leslie Hope (24), present an exclusive screening and a Q&amp;A of their much-anticipated new series, The River. All attendees will get a limited-edition Comic-Con giveaway. Room 6A
2:45-3:45 DreamWorks: Fright Night— Colin Farrell (The Way Back), Anton Yelchin (Star Trek), Christopher Mintz-Plasse (Superbad), Imogen Poots (Jane Eyre), Dave Franco (Charlie St. Cloud), director Craig Gillespie (Lars and the Real Girl), and screenwriter Marti Noxon (I Am Number Four) take the dais to give fans a taste of the horrific fun to come in DreamWorks Pictures' 3D reimagining of the classic horror film. Hall H
3:00-4:00 Eureka— Small town. Big panel. Syfy's smash hit Eureka is back at Comic-Con. Colin Ferguson (Jack Carter), Salli Richardson-Whitfield (Allison Blake), Neil Grayston (Douglas Fargo), and guest star Felicia Day (Dr. Holly Martin) join executive producers Jaime Paglia and Bruce Miller for a chat about the big secrets of America's smartest little town. Moderated by guest star Wil Wheaton (Dr. Isaac Parrish; Wesley Crusher, Star Trek: Next Generation). Ballroom 20
3:00-4:00 Bob's Burgers— Bob's Burgers creator/executive producer Loren Bouchard, executive producer Jim Dauterive, and cast members H. Jon Benjamin, John Roberts, Dan Mintz, Eugene Mirman, and Kristen Schaal entertain animation fans with hilarious never-before-seen footage from season two, followed by a Q&amp;A. Room 23ABC
3:15-4:15 Falling Skies— TNT's powerful drama series Falling Skies follows a group of survivors who band together after a devastating alien invasion has incapacitated most of the world. Ordinary people are called upon to fight back against the occupying alien force as they struggle for the survival of the human race. Join stars Noah Wyle (ER), Moon Bloodgood (Terminator Salvation), Will Patton (Armageddon), Drew Roy (Secretariat), Collin Cunningham (Living in Your Car), and Sarah Sanguin Carter (Shark) and co-executive producer Mark Verheiden (Battlestar Galactica) in a Q&amp;A, and watch exclusive never- before-seen footage from Falling Skies. Room 6BCF
3:30-4:30 ThunderCats Premiere Episode Screening and Q&amp;A— Comic-Con, ho! From the moment this series was announced, fans have answered the call -- now, the wait is over as Warner Bros. Animation is proud to bring you the world premiere of this new reimagining of the beloved '80s franchise. Lion-O, Tygra, Panthro, Cheetara, Wily Kit, and Snarf are back! After the screening, producers Michael Jelenic (Batman: The Brave and the Bold) and Ethan Spaulding (Avatar: The Last Airbender), art director Dan Norton (G.I. Joe: Resolute, and members of the voice cast will discuss what viewers can expect in the first season of this exciting new series. ThunderCats premieres in a special one-hour episode on Friday, July 29 at 8/7c on Cartoon Network. Room 6A
3:30-4:15 Adult Swim: Robot Chicken— Seth Green (co-creator, Robot Chicken), Matthew Senreich (co-creator, Robot Chicken), and Tom Root (head writer, Robot Chicken) discuss the popular Adult Swim series. The series uses stop-motion animation to bring pop culture parodies to life in a modern take on the variety/sketch show format. In Robot Chicken, no pop culture target is safe. Legions of action figures are used to spoof everything from reality television and Star Wars to past presidents. Moderated by Keith Crofford, vice president of production, Adult Swim. Indigo Ballroom, Hilton San Diego Bayfront
4:00-5:00 Developing Interactive Entertainment: The Performance Capture Techniques of the Uncharted Franchise and Today's Film Industry— Naughty Dog has consistently led the industry in adopting advanced performance capture processes and technology to propel their critically acclaimed Uncharted video game franchise to greater heights of quality and presentation. Launching in November, Uncharted 3: Drake's Deception delivers character-driven narrative and dramatic action sequences to create an engaging experience that grounds the player in the game world with relatable and believable characters. Moderated by USA Today's Mike Snider, Uncharted 3's creative director Amy Hennig and cast members Nolan North, Richard McGonagle, and Emily Rose discuss the influence of theatrical techniques and styles from the history of film that have helped the team produce interactive entertainment. Room 25ABC
4:00-5:30 Sony— Sony returns to Hall H with a stellar lineup of films and talent, including:Ghost Rider: Spirit of Vengeance -- After blazing a trail around the globe in the worldwide hit Ghost Rider, Nicolas Cage returns as Johnny Blaze in Columbia Pictures' Ghost Rider: Spirit of Vengeance. Still struggling with his curse as the devil's bounty hunter, Blaze is hiding out in a remote part of Eastern Europe when he is recruited by a secret sect to save a young boy (Fergus Riordan) from the devil (Ciaran Hinds). At first, Johnny is reluctant to embrace the power of the Ghost Rider again, but it is the only way to protect the boy -- and possibly rid himself of his curse forever. Live on stage: directors Mark Neveldine and Brian Taylor (Crank) and stars Nicolas Cage, Idris Elba, and Johnny Whitworth.30 Minutes or Less -- From Ruben Fleischer, the director of Zombieland, comes the action comedy 30 Minutes or Less. In the movie, Nick (Jesse Eisenberg of The Social Network and Zombieland) is a small town pizza delivery guy whose mundane life collides with the big plans of two wannabe criminal masterminds (Danny McBride and Nick Swardson). The duo kidnap Nick and force him to rob a bank. With only a few hours to pull off the impossible task, Nick enlists the help of his ex-best friend, Chet (Aziz Ansari). As the clock ticks, the two must deal with the police, hired assassins, flamethrowers, and their own tumultuous relationship. Talent in attendance includes director Ruben Fleischer and stars Aziz Ansari, Nick Swardson, and Michael Peña.Total Recall -- Welcome to Rekall, the company that with one little implant can turn your dreams into real memories. For a factory worker named Doug Quaid (Colin Farrell), the mind-trip sounds like the perfect vacation from his ordinary existence. But when the procedure goes horribly wrong, Quaid becomes a hunted man. With the line between fantasy and reality blurred and the fate of his world hanging in the balance, Quaid goes on the run to discover his true identity, his true love, and his true fate. Based on Philip K. Dick's classic story "I Can Remember It for You Wholesale," this new take on some of his most visionary ideas is directed by Len Wiseman and stars Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston, and John Cho, all of whom will be appearing.The Amazing Spider-Man -- The Amazing Spider-Man is back on the big screen, shot in 3D for the first time, and will be swinging into your neighborhood on July 3, 2012. Starring Andrew Garfield, Emma Stone, Rhys Ifans, Denis Leary, and Martin Sheen, as well as Sally Field, and directed by Marc Webb, The Amazing Spider-Man's new creative team will be taking a whole new direction in the unfolding saga of everyone's favorite web-slinger. Appearing in person are producers Avi Arad and Matt Tolmach, director Marc Webb, and our own Peter Parker and Gwen Stacy -- Andrew Garfield and Emma Stone.
Hall H
4:15-5:15 Warehouse 13— For one day only, America's top-secret treasure trove is moving from the middle of nowhere to the middle of Comic-Con. Stars Eddie McClintock (Pete Lattimer), Joanne Kelly (Myka Bering), Saul Rubinek (Artie Nielsen), and Allison Scagliotti (Claudia Donovan), along with executive producer Jack Kenny, take you inside Syfy's blockbuster hit series, Warehouse 13. Moderated by Neil Grayston (Douglas Fargo, Eureka). Ballroom 20
4:30-5:30 Marvel Television Presents: Anime on G4— Marvel Television and G4 take your favorite characters -- Iron Man, Wolverine, The X-Men, and Blade -- to Japan to tell their stories in a whole new way, beautifully animated by the anime masters at Madhouse. Hosted by Attack of the Show's Blair Butler, watch a never-before-seen episode with Marvel's head of TV Jeph Loeb and surprise guests. Plus, get a sneak peek at The X-Men's explosive first episode. Room 6BCF
4:45-5:45 Phineas and Ferb— Hear from the brilliant minds behind the series, Dan Povenmire and Jeff "Swampy" Marsh, along with voice talent Vincent Martella (Everybody Hates Chris), Ashley Tisdale (High School Musical, Sharpay's Fabulous Adventure), and Dee Bradley Baker (American Dad). See exclusive footage and hear all the scoop about their upcoming Disney Channel Original Movie Phineas and Ferb: Across the 2nd Dimension, which premieres August 5. Moderated by Matt Blum of Wired.com's Geek Dad. Room 6A
5:00-6:00 BBC America's Bedlam: Exclusive U.S. Premiere Screening and Q&amp;A— Star Theo James (Downtown Abbey) and creator David Allison (Boy Meets Girl) host a premiere screening event followed by discussion and Q&amp;A. Bedlam Heights, the stylish new apartment building, has sexy tenants and gorgeous amenities. But little do its new residents suspect that behind the luxury fittings lay unimaginable horrors. This is a place tainted by abuse, suffering, and death -- and the ghosts of its dark and violent past are out for revenge. As the direct descendent of those who ran the asylum, Kate (Charlotte Salt, The Tudors) -- who both lives and works there -- is a prime target. She is surprised by the unexpected arrival of Jed (James), her adopted cousin. With a history of mental illness, Jed is a troubled man who sees ghosts and visions of the past. Recent messages to "Save Kate" propel him back into Kate's life. Can he really "Save Kate"? And from whom, or what, does she need saving? Everybody has a dark side in this new series also starring Ashley Madekwe (Secret Diary of a Call Girl), Hugo Speer (Skins), and Will Young (Pop Idol winner, Skins). Bedlam premieres October 8 on BBC America's Supernatural Saturdays. Room 7AB
5:00-6:00 The World of Capcom— Capcom fans won't want to miss this opportunity to learn about all the new games coming from their favorite video game publisher. Plus, get in-depth details straight from Capcom's stellar producer Hiroyuki Kobayashi (Resident Evil 4) about his exciting new open-world action adventure game, Dragon's Dogma. Producer Jason Leigh talks about the zombie-infested streets of Fortune City in Dead Rising 2: Off the Record, and producer Kazuhiro Tsuchiya discusses the new over-the-top rollercoaster IP, Asura's Wrath. Followed by a Q&amp;A session. Room 25ABC
5:30-6:30 True Blood Panel and Q&amp;A session— Mixing romance, suspense, mystery, and humor, the Emmy and Golden Globe nominated True Blood kicked off its 12-episode fourth season June 26 on HBO. The series follows the on-and-off romance between waitress and part-faerie Sookie Stackhouse (Anna Paquin), who can hear people's thoughts, and 173-year-old vampire Bill Compton (Stephen Moyer). Oscar and Emmy award winner Alan Ball created and serves as executive producer of the series, which is based on the bestselling Sookie Stackhouse novels by Charlaine Harris. The series -- and this panel! -- also features Ryan Kwanten as Jason Stackhouse, Sam Trammell as Sam Merlotte, Rutina Wesley as Tara Thornton, Nelsan Ellis as Lafayette, Deborah Ann Woll as Jessica Hamby, Kristin Bauer van Straten as Pam, Joe Manganiello as Alcide, and Kevin Alejandro as Jesus. Moderated by Tim Stack of Entertainment Weekly. Ballroom 20
5:45-6:45 Spartacus: Vengeance— Liam McIntyre (McLeod's Daughters) makes his Comic-Con debut, along with Lucy Lawless (Xena: Warrior Princess), Manu Bennett (30 Days of Night), Dustin Clare (Underbelly), and Katrina Law (Legend of the Seeker). Executive producer Steven S. DeKnight (Buffy the Vampire Slayer) joins the cast to discuss the upcoming second season, titled,Spartacus: Vengeance, expected to air on Starz in January 2012, and the exclusive content found on the Spartacus: Gods of the Arena Blu-ray discs, available September 13. Room 6BCF
6:00-7:00 Hermes Press / Dark Shadows The Classic Series and the New Tim Burton Film— Lara Parker (Angelique from Dark Shadows), Kathryn Leigh Scott (Maggie Evans and Josette DuPres from Dark Shadows), Jim Pierson (consulting producer for the new Dark Shadows film), and Daniel Herman (publisher, Hermes Press) talk about the classic show, the comic book, and print tie-ins and reveals up-to-date news and some surprises about the upcoming Tim Burton film starring Johnny Depp, along with a Q&amp;A session. Room 4
6:00-7:00 Alphas— Syfy's newest original series Alphas has taken the summer by storm -- and it's just the beginning. David Strathairn (Dr. Lee Rosen) and fellow cast members, plus creator and executive producer Zak Penn (X-Men: The Last Stand; The Avengers) and executive producer Ira Steven Behr (Star Trek: The Next Generation; The 4400), reveal why impossible is what Alphas do best. Moderated by Geoff Boucher ("Hero Complex," Los Angeles Times). Room 6A
6:00-7:00 Girls Gone Genre— Come talk with women who write, read, game, and perform in arenas that are statistically dominated by men. What happens when traditionally "male" genres are reinvented by female writers and embraced by female fans? Sex and the City it ain't. Meet the women who like to play with trucks and Barbies. And Wolverine action figures. And flux capacitors. Moderator Jenna Busch is joined by panelists Marti Noxon (screenwriter/producer, Buffy the Vampire Slayer, Angel, Mad Men, Fright Night), Gale Anne Hurd (producer, The Walking Dead, Terminator, Aliens), and Marjorie Liu (writer, X-23, Daken: Dark Wolverine, Black Widow, Dirk &amp; Steele novel series). Room 25ABC
6:00-7:00 At the Drive-In— Come with us now to those thrilling days of yesteryear when one of the few places you could see some offbeat genre films and a slew of trailers was at your local Drive-In. We're trying something new at Comic-Con this year by giving some up and coming genre filmmakers an evening berth to preview their upcoming films. So as San Diego gets darker tonight, so will Hall H as we welcome our first guests to the Virtual Drive-In:Grave Encounters -- Locked in an actual abandoned mental hospital, the crew of a ghost-hunting reality show find themselves trapped in a psychotically endless and deadly labyrinth. Written and directed by The Vicious Brothers, Grave Encounters, which premiered at the Tribeca Film Festival earlier this year, takes the found footage horror genre to a terrifying new level. Appearing on stage: The Vicious Brothers.Tucker &amp; Dale vs. Evil --Tucker and Dale are two best friends on vacation at their dilapidated mountain house, who are mistaken for murderous backwoods hillbillies by a group of obnoxious, preppy college kids. When one of the students gets separated from her friends, the boys try to lend a hand, but as the misunderstanding grows, so does the body count. Tucker &amp; Dale Vs Evil has been a hit on the festival circuit, debuting at Sundance, and winning the Midnight Audience Award at SXSW, the Jury Prize for First Feature at Fantasia, the Best Director award at Fantaspoa, and the Best Motion Picture Award at Sitges. Confirmed panelists include Eli Craig, Alan Tudyk, and Tyler Labine.
Hall H
6:30-7:30 Resident Evil Round-Up!— 2011 marks the 15th anniversary of the legendary video game franchise that gave fear a face and horror a home. Get the latest information about the newest entries to the Resident Evil franchise: Resident Evil: Operation Raccoon City, with producer Rey Jimenez; Resident Evil: Revelations for the Nintendo 3DS; the gorgeous reimagining of Resident Evil 4 HD; and Resident Evil Code Veronica X HD, plus some surprises! Followed by a Q&amp;A session. Room 5AB
7:00-8:00 Sushi Girl— Sushi Girl chronicles the story of five friends who reunite six years after a diamond-job-gone-wrong to eat sushi off a naked girl. Sure enough, the thieves can't help opening old wounds in an attempt to find their missing loot, and all mayhem ensues. This film marks the return to the big screen for Mark Hamill (Star Wars) and Noah Hathaway (Neverending Story) and also features cast members Tony Todd (Candy Man), James Duval (Donnie Darko), Andy Mackenzie (Shoot 'Em Up), David Dastmalchian (The Dark Knight), and Cortney Palm (Sunday Morning High). The legendary Sonny Chiba (Kill Bill) also stars. Kern Saxton (Deader Living Through Chemistry) directed and co-wrote with Destin Pfaff (Millionaire Matchmaker). Producers Neal Fischer (Fight Club) and Suren Seron (Forever Plaid) and moderator Ted Stryker (KROC) round out the panel. Meet the entire cast and creators and witness the world premiere of the official trailer, followed by Q&amp;A session. Room 25ABC
7:30-8:30 Death Valley— MTV brings the unique marriage of horror and comedy together with this new series. Join members of the ensemble cast, including Caity Lotz (Mad Men), Tania Raymonde (Lost), Bryan Callen (The Hangover), Bryce Johnson (Sleeping Dogs Lie), Texas Battle (Final Destination 3), and Charlie Sanders (Funny or Die), along with showrunner/executive producer Eric Weinberg (Californication, Scrubs), director Drew Daywalt (Bedfellows), executive producer/director Austin Reading (Spike TV's Scream Awards, FEARnet), executive producer Julie Kellman Reading, and co-executive producer Spider One, in a discussion about the challenges of bringing the comedy and horror genres together and how the team involved in the series bring all the elements of what they know best to the series. Fans will get an exclusive first look at an upcoming episode. Q&amp;A session to follow! Room 5AB
7:30-8:30 Lost Girl— Supernatural seductress Bo is a succubus who feeds off sexual energy. Having survived for years alone, she now discovers she is one of the Fae, creatures of legend who pass as humans. Unwilling to chose sides, Bo forges her own path between the human and Fae worlds, embarking on a mission to unlock the secrets of her origin. Join star Anna Silk (Ghost Whisperer); actor Emmanuelle Vaugier (Saw II), who guest stars as The Morrigan, the head of the Dark Fae clan; and the production team behind the series, Jay Firestone, executive producer (Andromeda, Mutant X) and Michelle Lovretta (Mutant X), as they discuss this exciting new show coming soon to SyFy! Room 24ABC
8:00-10:00 World Premiere: Batman: Year One— Warner Home Video, Warner Premiere, DC Entertainment, and Warner Bros. Animation proudly present the World Premiere of Batman: Year One, the highly anticipated next entry in the ongoing series of DC Universe Animated Original Movies. Based on the landmark 1987 DC Comics titles from 12-time Eisner Award winner Frank Miller and illustrator David Mazzucchelli, Batman: Year One depicts young Bruce Wayne's return to Gotham City in his first attempts to fight injustice as a costumed vigilante. The playboy billionaire chooses the guise of a giant bat to combat crime, creates an early bond with a young Lieutenant James Gordon (who is already battling corruption from inside the police department), inadvertently plays a role in the birth of Catwoman, and helps bring down a crooked political system that infests Gotham. When the film ends, stay in your seats for a lively panel discussion amongst voice cast members Ben McKenzie (Southland), Eliza Dushku (Dollhouse, Buffy the Vampire Slayer), and Katee Sackhoff (Battlestar Galactica), executive producer Bruce Timm (DCU films), directors Lauren Montgomery (Superman/Batman: Apocalypse) and Sam Liu (All-Star Superman), and casting/dialogue director Andrea Romano (DCU films). Moderator Gary Miereanu will offer a first glimpse into the 2012 DC Universe Animated Original Movies slate, give away some exclusive prizes to inquisitive audience members, and quite possibly introduce a few surprise guests. Warner Home Video will distribute Batman: Year One on Blu-ray and DVD, OnDemand and For Download on October 18, 2011. Ballroom 20
9:00-11:00 Syfy Screening: Eureka, Haven, and Mercury Men— Imagine Greater with fellow fans during an advanced preview screening of the next all-new episode of Eureka, followed by a special presentation of an all-new Haven. And be sure to stick around for the exclusive premiere of the new digital series The Mercury Men. Introductions by Eric Balfour (Duke, Haven). Room 6A
9:15-10:15 Locke &amp; Key FOX Pilot Screening Encore— Second screening added due to demand! The most talked-about pilot not on the fall schedule was the FOX production of Locke &amp; Key. This screening of the entire pilot will show you just what a void there will be on your TV this fall. Watch the special filmed adaptation of "Welcome to Lovecraft" and see the Eisner-nominated comic brought to life. Room 6DE
10:15-12:00 Encore Screening: Batman: Year One— Warner Home Video, Warner Premiere, DC Entertainment, and Warner Bros. Animation offer a second opportunity to see Batman: Year One, along with a chance to see a few special Comic-Con exclusive trailers for upcoming Warner Bros. films, videogames, and Blu-ray/DVD releases. Ballroom 20

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

Dimension Films' "Scream 3" made the weekend's biggest waves at the box office, holding on to first place despite 20th Century Fox's strong launch for Leonardo DiCaprio's "The Beach."
"Scream 3" took a hefty second weekend drop but still sliced off an estimated $16.40 million (-53%) at 3,467 theaters (theater count unchanged, $4,730 per theater). Its total is approximately $57.1 million.
In December 1997, "Scream 2's" second weekend gross of $13.9 million was down 58%. It went on to gross about $101.3 million in domestic theaters.
"It's actually a better drop than expected considering where we opened," Miramax Senior Vice President, Marketing, David Kaminow said Sunday morning. "Looking at 'Scream 2,' after 10 days, we were at $55 million. On 'Scream 3' after 10 days, we're at $57 million. So we're on a good track and feel good about that."
Directed by Wes Craven, "Scream 3" was produced by Cathy Konrad, Kevin Williamson and Marianne Maddalena. It reunites Craven with David Arquette, Neve Campbell, Courteney Cox Arquette and Liev Schreiber. Also starring are Patrick Dempsey, Scott Foley, Matt Keeslar, Jenny McCarthy, Emily Mortimer, Parker Posey, Deon Richmond, Kelly Rutherford and Patrick Warburton.
Twentieth Century Fox's launch of its R-rated adventure drama "The Beach" washed ashore in second place with a high tide estimated $15 million at 2,546 theaters ($5,891 per theater).
Its per-theater average was the highest for any film in wide release last weekend.
Directed by Danny Boyle, "The Beach" stars DiCaprio and Virginie Ledoyen.
"It's good," Tom Sherak, 20th Domestic Film Group chairman and senior executive vice president of Fox Filmed Entertainment, said Sunday morning. "The audience was about 57% female and 43% male. Fifty-five percent of the audience was 18-25.
Everybody seems to be thrilled about it. No question, they came to see (DiCaprio) -- the biggest reason to go to the movie (according to exit polls). And young girls liked it the best.
"Everybody's happy (about it at Fox). Some people have asked me (about) it's not being No. 1. Well, when a movie does $34 million in its first week, (a film opening the next week) is not going to be No. 1. No. 1 is a wonderful thing, but it's not the wherewithal for a movie. There have been so many movies that haven't been No. 1 that have gone on to do a lot of business. Hopefully, this will be one of them."
Paramount and Nickelodeon Movies' PG-rated comedy "Snow Day" opened in third place to a blizzard of ticket sales with an estimated $14.80 million at 2,664 theaters ($5,556 per theater).
"Snow Day" is directed by Chris Koch and stars Chevy Chase.
"I think it's phenomenal," Paramount Distribution President Wayne Lewellen said Sunday morning. "It's way beyond where we thought it could get. I thought, maybe, $12 million would be our top simply because 'Tigger' was in the marketplace at the same time. And, really, nothing had ever done this kind (of business) -- you're talking $23-25 million between the two pictures."
There were differences between the two family films' audiences. "Snow," Lewellen said, was "a little bit older. Their picture, based on the research, really stopped at about 6 years old, and we could get to, like, 12- and 13-year-olds. Obviously, their being in the market affected us because they took some of the younger kids who were going to our film. But for the two pictures to do this level of business is just phenomenal."
Lewellen added that the marketplace expanded with two new family films opening: "I think, maybe, the two pictures had a synergy getting the people out. The younger people like to go see both movies.
Fourth place went to Disney's kickoff of its G-rated animated "The Tigger Movie" with a bouncy estimated $9.21 million at 2,723 theaters ($3,382 per theater). The film is the animated adventures of the familiar "Winnie the Pooh" character.
"I'm so happy," Buena Vista Distribution President Chuck Viane said Sunday morning. "Based on everything that we felt, this is really at the upper end of the opening weekend projection. Next Monday is a holiday, and what historically happens is that whatever you do in the three days of this weekend you come right back and do in the four days of next weekend. When the end of the year rolls around, this movie will probably rank up there with some of the most profitable. Everything was done the right way, and it is going to be extremely profitable.
"What a wonderful weekend for general audience movies. 'Snow Day' did wonderfully. We did wonderfully. And, yet, if you look inside the numbers, we don't compete with each other. We're younger and a tad more female. We're 56% female. I'm sure if you looked inside 'Snow Day's' numbers, they'd be a little heavier male than female. We're really complementary to the marketplace."
Rounding out the Top Five was Universal's R-rated Oscar contender "The Hurricane," down three slots in its seventh week but still holding well with an estimated $3.61 million (-27%) at 2,078 theaters (-70 theaters, $1,735 per theater). Its total is approximately $42.4 million.
Directed by Norman Jewison, it stars recent Golden Globe winner Denzel Washington as wrongly imprisoned boxing champion Rubin "Hurricane" Carter.
Warner Bros. and Castle Rock Entertainment's R-rated death row drama "The Green Mile" held on to sixth place in its 10th week with a still OK estimated $3.04 million (-24%) at 2,012 theaters (-323 theaters, $1,513 per theater). Its total is approximately $124.4 million, heading for $140 million in domestic theaters.
Written and directed by Frank Darabont, it stars Tom Hanks and Michael Clarke Duncan.
New Line's R-rated urban-appeal hit comedy sequel "Next Friday" dropped three slots to seventh place in its fifth week with a still respectable estimated $2.82 million (-34%) at 1,364 theaters (-56 theaters, $2,071 per theater). Its total is approximately $49.4 million.
Directed by Steve Carr, it was written by, stars and was produced by Ice Cube.
Columbia's PG-rated family comedy "Stuart Little" finished eighth, down five pegs in its ninth week in the face of competition from two new family-appeal films with a less exciting estimated $2.70 million (-43%) at 2,351 theaters (-351 theaters, $1,148 per theater). Its total is approximately $132 million, heading for $140 million or more in domestic theaters.
Directed by Rob Minkoff, it stars Geena Davis, Hugh Laurie and Jonathan Lipnicki.
"It's been having its own way for many weeks," Sony Pictures Releasing President Jeff Blake said Sunday morning. "There's no question, both (new family) pictures gave us a hit. But we think we'll hang on, certainly past the $140 million mark and, I think, we'll get to the mid-$140 millions. We're still in 2,351 runs and although we'll lose some, there's a lot of interest in continuing to play this picture, especially over the holiday weekend coming up."
Looking ahead to the Oscar nominations Tuesday morning, Blake said, "It will be interesting to see what impact the Academy Award nominations have. Certainly, only the No. 5 and 6 pictures this week out of the Top Ten are interested in that result plus the re-release of 'American Beauty.' It certainly seems like the top four plus (the two films opening next weekend) 'Hanging Up' and 'The Whole Nine Yards' are all going to be pretty hard to get by.
"It does not look like the rewards are going to be immediate (for films with Oscar nominations) because it does look like kids and, hopefully, the women for us on 'Hanging Up' will rule things (next weekend). As I say, I think it's not necessarily going to be the Academy weekend next weekend. It looks like a lot of very entertaining (new or very recent) pi tures will probably be on top."
Blake said that "Hanging Up" will open at about 2,500 theaters. Directed by Diane Keaton, the PG-13-rated comedy stars Meg Ryan, Diane Keaton, Lisa Kudrow and Walter Matthau.
DreamWorks' PG-rated sci-fi fantasy comedy "Galaxy Quest" was ninth, down two notches in its eighth week with a less exciting estimated $2.20 million (-34%) at 1,589 theaters (-350 theaters, $1,385 per theater). Its total is approximately $65.8 million, heading for about $70 million in domestic theaters.
Directed by Dean Parisot, it stars Tim Allen, Sigourney Weaver and Alan Rickman.
Rounding out the Top Ten was Destination Films' R-rated psychological thriller "Eye Of the Beholder," down five rungs in its third week with a quiet estimated $2.11 million (-49%) at 1,583 theaters (-168, $1,331 per theater). Its total is approximately $15.1 million.
Directed by Stephan Elliott, it stars Ewan McGregor and Ashley Judd. Destination reportedly picked up the independently made film for domestic release for about $4 million.
OTHER OPENINGS
Last weekend saw the arrival of no other noteworthy openings.
SNEAK PREVIEWS
Last weekend saw Warner Bros. hold national sneak previews Saturday night of Morgan Creek and Franchise Pictures' R-rated comedy "The Whole Nine Yards."
Directed by Jonathan Lynn, it stars Bruce Willis and Matthew Perry. It was written by Mitchell Kapner, produced by David Willis and Allan Kaufman and executive produced by Elie Samaha and Andrew Stevens.
"We had over 800 sneaks and polled more than half (of them)," Warner Bros. distribution executive Jeff Goldstein said Sunday morning. "Of the theaters we polled, the reaction (was) 98% between good and excellent. On the capacity side, 95% were between 75% and 100% capacity. Those two pieces of information tell the whole story -- we had really good sneaks."
"Yards" opens Friday at more than 2,800 theaters.
EXPANSIONS
On the expansion front, last weekend saw Buena Vista/Touchstone expand its R-rated Oscar contender thriller "The Sixth Sense" in its 28th week to be in the marketplace when Academy nominations are announced Tuesday morning. "Sense" placed 18th with a quiet estimated $1.04 million at 831 theaters (+611 theaters, $1,254 per theater). Its total is approximately $279.5 million.
Directed by M. Night Shyamalan, it stars Bruce Willis and Haley Joel Osment.
USA Films R-rated drama "Topsy-Turvy" went wider in its eighth week, placing 20th with a quiet estimated $0.72 million at 223 theaters (+93 theaters, $3,240 per theater). Its total is approximately $3.2 million.
Written and directed by Mike Leigh, it stars Jim Broadbent and Allan Corduner.
Fox Searchlight Pictures' R-rated drama "Titus" went a bit wider in its eighth week, placing 32nd with an OK estimated $0.11 million at 19 theaters (+2 theaters, $5,815 per theater). Its total is approximately $1 million.
Directed by Julie Taymor, it stars Anthony Hopkins, Jessica Lange and Allan Cumming.
USA Films' reissue of the PG-rated suspense/cop drama "Rear Window" widened slightly in its fourth week, placing 33rd with an OK estimated $0.10 million at 17 theaters (+2 theaters, $5,790 per theater). Its total is approximately $0.4 million.
Directed by Alfred Hitchcock, it stars Jimmy Stewart and Grace Kelly. Robert Harris and James Katz restored the 1954 film classic.
Fine Line Features' G-rated Oscar contender for Best Foreign Language Film, "The Cup," widened in its third week, placing 34th with an OK estimated $0.064 million at 12 theaters (+8 theaters, $5,330 per theater). Its total is approximately $0.2 million.
Directed by Khyentse Norbu, it is the story of attempts to hook up a satellite dish at a Tibetan monastery so its soccer fan monks can watch the 1998 World Cup matches.
Warner Bros. R-rated comedy "The Big Tease" expanded in its third week, placing 36th place with a quiet estimated $0.030 million at 10 theaters (+6 theaters, $2,855 per theater). Its total is approximately $0.1 million.
Directed by Kevin Allen, it stars Craig Ferguson and Frances Fisher.
WEEKEND COMPARISONS
Key films -- those grossing more than $500,000 for the weekend - took in approximately $84.17 million. Comparisons cannot be made to last year when the comparable weekend was the four-day Presidents Day holiday weekend.
This year, the four-day Presidents Day weekend is one week later (Feb. 18-21). This weekend's key film gross was down about 1.19% compared with the previous weekend when key films grossed $85.18 million.
Last year, Warner Bros.' opening week of "Message In A Bottle" was first with $18.85 million for four days at 2,538 theaters ($7,428 per theater) and Paramount's second week of "Payback" was second with $17.72 million at 2,751 theaters ($6,441 per theater). The top two films one year ago grossed $36.6 million for four days. This year, the top two films grossed an estimated $31.4 million for three days.
STUDIO MARKET SHARES
Based on business by key films, last weekend's top six distributors were the following:
Miramax (Miramax, Dimension) was first with three films ("Scream 3," "Down To You" and "The Cider House Rules") grossing an estimated $19.5 million or 23.2% of the market.
Paramount was second with three films ("Snow Day," "The Talented Mr. Ripley" and "Angela's Ashes") grossing an estimated $17.66 million or 21% of the market.
Twentieth Century Fox was third with one film ("The Beach") grossing an estimated $15 million or 17.8% of the market.
Buena Vista (Touchstone and Disney) was fourth with three films ("The Tigger Movie," "Toy Story 2" and "Fantasia 2000") grossing an estimated $12 million or 14.3% of the market.
Sony Pictures Entertainment (Columbia, TriStar) was fifth with three films ("Stuart Little," "Girl, Interrupted" and "The End Of the Affair") grossing an estimated $4.75 million or 5.6% of the market.
Warner Bros. was sixth with two films ("The Green Mile" and "Any Given Sunday") grossing an estimated $3.76 million or 4.5% of the market.
ADDITIONAL ESTIMATES
(11) "Fantasia 2000"/BV/Disney: Theaters: 54 (0) (all IMAX in U.S.) Gross: $1.80 million (-6%) Average per theater: $33,333 Total: $27.4 million (worldwide)
(12) "The Talented Mr. Ripley"/Paramount/Miramax: Theaters: 1,266 (-563) Gross: $1.76 million (-29%) Average per theater: $1,390 Total: $78 million
(13) "The Cider House Rules"/Miramax: Theaters: 802 (-32) Gross: $1.60 million (-17%) Average per theater: $1,995 Total: $22.7 million
(14) "Down to You"/Miramax: Theaters: 1,719 (-284) Gross: $1.50 million (-45%) Average per theater: $872 Total: $18.5 million
(15) Girl, Interrupted/Columbia: Theaters: 1,380 (-483) Gross: $1.35 million (-47%) Average per theater: $978 Total: $27 million
(16) "Angela's Ashes"/Paramount: Theaters: 614 (0) Gross: $1.10 million (-28%) (tie) Average per theater: $1,792 Total: $10.2 million
(16) "Toy Story 2"/BV/Disney: Theaters: 1,249 (-339) Gross: $1.10 million (-53%) (tie) Average per theater: $816 Total: $238.6 million
(18) "The Sixth Sense"/BV/Touchstone: (see EXPANSIONS above)
(19) "Magnolia"/New Line: Theaters: 497 (-332) Gross: $0.85 million (-34%) Average per theater: $1,710 Total: $20.5 million
(20) "Topsy-Turvy"/USA Films: (see EXPANSIONS above)
21) "Any Given Sunday"/Warner Bros.: Theaters: 1,031 (-526) Gross: $0.72 million (-30%) Average per theater: $695 Total: $74.8 million
(22) "The End of the Affair"/Columbia: Theaters: 585 (-96) Gross: $0.70 million (-34%) Average per theater: $1,197 Total: $9.5 million
(23) "The World Is Not Enough"/MGM: Theaters: 768 (-74) Gross: $0.45 m illion (-30%) Average per theater: $590 Total: $125.8 million
(24) "Snow Falling on Cedars"/Universal: Theaters: 504 (-296) Gross: $0.40 million (-45%) Average per theater: $800 Total: $13.5 million
(25) "Gun Shy"/BV/Hollywood: Theaters: 296 (0) Gross: $0.37 million (-47%) Average per theater: $1,256 Total: $1.3 million
(26) "Being John Malkovich"/USA Films: Theaters: 173 (-34) Gross: $0.25 million (-21%) Average per theater: $1,440 Total: $21.6 million
(27) "Isn't She Great"/Universal: Theaters: 369 (-381) Gross: $0.20 million (-69%) Average per theater: $545 Total: $2.9 million
(28) "End of Days"/Universal: Theaters: 276 (-67) Gross: $0.17 million (-19%) Average per theater: $620 Total: $66.4 million
(29) "The Bone Collector"/Universal: Theaters: 294 (-35) Gross: $0.17 million (-20%) Average per theater: $580 Total: $66.0 million
(30) "Simpatico"/Fine Line: Theaters: 222 (-34) Gross: $0.16 million (-65%) Average per theater: $718 Total: $0.9 million
(31) "Man on the Moon"/Universal: Theaters: 322 (-161) Gross: $0.15 million (-42%) Average per theater: $450 Total: $34.4 million
(32) "Titus"/Fox Searchlight: (see EXPANSIONS above)
(33) "Rear Window"/USA: (see EXPANSIONS above)
(34) "The Cup"/Fine Line: (see EXPANSIONS above)
(35) "My Dog Skip"/Warner Bros. Theaters: 29 (-1) Gross: $0.060 million (-47%) Average per theater: $2,075 Total: $0.5 million
(36) "The Big Tease"/Warner Bros. (see EXPANSIONS above)

Hollywood was suffering from the box office blahs over the weekend, just as Hollywood insiders anticipated. For the first time since Oct. 22, no films cracked double-digits.
Miramax's PG-13-rated teen-appeal romantic comedy "Down To You" managed to top the chart with only an estimated $8.30 million at 1,971 theaters ($4,211 per theater).
Written and directed by Kris Isacsson, it stars Freddie Prinze Jr. and Julia Stiles.
"I think it's great," Miramax Senior Vice President, Marketing, David Kaminow said Sunday morning. "Freddie Prinze Jr. cannot deny the fact that he has a following. He really can do a great job of opening a picture.
"I think our (marketing) materials were good, and it just looked like a fun movie for its core audience of young girls. There hasn't been anything for them for a while.
"The PG-13 (helped). 'Girl, Interrupted' definitely has a female appeal, but with its R rating, it sort of gets limited a little (to older teen girls). With 'Down To You's' PG-13, it really opens up that lower end of the age range."
New Line's R-rated urban-appeal comedy sequel "Next Friday" was a close No. 2, sliding one slot in its second weekend with a still solid estimated $8.20 million (-43%) at 1,175 theaters (+72 theaters, $6,979 per theater). Its total is approximately $32 million.
Directed by Steve Carr, it was written by, stars and was produced by Ice Cube.
"I think we've got $45 million in the bag," New Line Executive Vice President, Distribution, David Tuckerman said Sunday morning. "I would have been happy with (a drop of) 50%, so we're thrilled (with 43% off).
"It was a very inexpensive film. The negative cost was about $10 million -- very profitable for New Line."
Universal's critically acclaimed R-rated drama "The Hurricane" held on to third place as it continued to expand in its fourth week with an OK estimated $7.01 million (-22%) at 2,101 theaters (+647 theaters, $3,335 per theater). Its total is approximately $23.4 million.
Directed by Norman Jewison, it stars Denzel Washington as wrongly imprisoned boxing champion Rubin "Hurricane" Carter.
"Hurricane" received three Golden Globe nominations, including best picture, actor/drama (Washington) and director (Jewison). The film is also generating Oscar buzz in those categories.
"'Hurricane' still has its velocity," Universal Distribution President Nikki Rocco said Sunday morning. "In a very soft marketplace, it continues to show legs."
Noting that the film is a top contender for Golden Globes, Rocco said that is helpful because, "It's the visibility. You get a lot of television coverage on the Golden Globes nationally. So Golden Globes always helps. I think it will do well."
Columbia's PG-rated family comedy "Stuart Little" continued to hold well in its sixth weekend, down two pegs to fourth place with a less exciting estimated $6.50 million (-31%) at 3,151 theaters (+59 theaters, $2,063 per theater). Its total is approximately $117.2 million, heading for $140 million or more in domestic theaters.
Directed by Rob Minkoff, it stars Geena Davis, Hugh Laurie and Jonathan Lipnicki.
"As usual, it's nothing but good news on 'Stuart,'" Sony Pictures Releasing President Jeff Blake said Sunday morning. "It certainly seems to be rolling to at least $140 million."
Warner Bros. and Castle Rock Entertainment's R-rated prison death-row drama "The Green Mile" held on to fifth place in its seventh week with a still respectable estimated $5.50 million (-29%) at 2,483 theaters (theater count unchanged, $2,219 per theater). Its total is approximately $109.7 million, heading for $130 million in domestic theaters.
Written and directed by Frank Darabont, it stars Tom Hanks.
DreamWorks' PG-rated sci-fi fantasy comedy "Galaxy Quest" held on to sixth place in its fifth week with a less high-flying estimated $4.80 million (-29%) at 2,259 theaters (-191 theaters, $2,125 per theater). Its total is approximately $54.6 million, heading for $60 to $70 million in domestic theaters.
Directed by Dean Parisot, it stars Tim Allen, Sigourney Weaver and Alan Rickman. Columbia's R-rated drama "Girl, Interrupted" dropped three notches to seventh in its fifth week with a less attractive estimated $4.40 million (-46%) at 1,935 theaters (+33 theaters, $2,274 per theater). Its total is approximately $16.3 million. Directed by James Mangold, "Girl" stars Winona Ryder and Angelina Jolie.
"A little bigger drop than we'd like on 'Girl, Interrupted,' but its younger female audience was probably affected by (the arrival of) 'Down To You,'" Sony Pictures Releasing's Blake said.
Paramount's R-rated drama "The Talented Mr. Ripley" dropped one rung to eighth place in its fifth week with a less lively estimated $3.88 million (-36%) at 2,215 theaters (-154 theaters, $1,750 per theater). Its total is approximately $68.4 million.
Written and directed by Anthony Minghella, it stars Matt Damon, Gwyneth Paltrow, Jude Law and Cate Blanchett.
"Ripley" looms as a top candidate for Oscar nominations, having received five Golden Globe nominations -- best picture/drama, actor/drama (Damon), supporting actor (Law), director (Minghella) and score (Gabriel Yared).
"Awards will be a big factor," Paramount Distribution President Wayne Lewellen said Sunday morning. "I figure it's going to get to around $80 million, but if it gets some awards, that could carry it on up there. Certainly, the Academy, if it comes in there, (would be a big help)."
Buena Vista/Touchstone's R-rated boxing-theme comedy-drama "Play it to the Bone" went wide quietly in its fifth week, placing ninth with an estimated $3.5 million at 1,556 theaters (+1,556 theaters, $2,249 per theater). Its total is approximately $3.5 million.
Written and directed by Ron Shelton, it stars Woody Harrelson and Antonio Banderas.
Rounding out the Top Ten was Paramount's R-rated drama "Angela's Ashes," which went wide in its fifth week with a subdued estimated $3.28 million at 610 theaters (+604 theaters, $5,369 per theater). Its total is approximately $3.7 million.
Directed by Alan Parker, "Ashes" stars Emily Watson and Robert Carlyle.
"We got hurt pretty bad by the weather, on Friday, particularly," Paramount's Lewellen pointed out, noting that while the numbers were disappointing, there is the potential of growth, especially if the film does well with Oscar nominations. He added that the snow and bitter cold weather that hit a number of East Coast markets this weekend tend to keep people home, "particularly the older audience, which this film appeals to."
Last weekend also saw the arrival of Miramax's PG-13-rated drama "Diamonds," placing 32nd with a low-carat estimated $0.019 million at 13 theaters in Kansas City ($1,727 per theater). Its total, including its Academy Award qualifying run in December, is approximately $.033 million.
Directed by John Asher, it stars Kirk Douglas, Dan Aykroyd, Jenny McCarthy and Lauren Bacall.
USA Films reissued its PG-rated suspense drama "Rear Window," the Alfred Hitchcock classic starring James Stewart and Grace Kelly. The 1954 film, restored by Robert Harris and James Katz, placed 33rd with an appreciative estimated $0.013 million at one theater in New York ($13,229 per theater).
SNEAK PREVIEWS
Last weekend saw no national sneak previews.
EXPANSIONS
On the expansion front, last weekend saw Columbia's R-rated drama "The End of the Affair" go wider in its eighth week, placing 17th with an unromantic estimated $1.55 million at 686 theaters (+594 theaters, $2,255 per theater). Its total is approximately $5 million.
Directed by Neil Jordan, it stars Ralph Fiennes and Julianne Moore.
"It's a little rough on all the expansi ns this year," Sony's Jeff Blake said Sunday. "It's such a crowded field, you're always bumping into something. It's hard to pick that perfect moment when to expand."
Focusing on the fact that Golden Globes and Oscars would be very helpful in driving "Affair," Blake noted, "Look, if we get a Golden Globe tonight, that would certainly be a plus."
Buena Vista/Touchstone's R-rated drama "Cradle Will Rock" expanded in its seventh week, placing 22nd with a calm estimated $0.60 million at 506 theaters (+450 theaters, $1,186 per theater). Its total is approximately $1.8 million.
USA Films' R-rated drama "Topsy-Turvy" went wider in its sixth week, placing 25th with a brisk estimated $0.34 million at 40 theaters ($8,545 per theater). Its total is approximately $0.5 million.
Written and directed by Mike Leigh, it stars Jim Broadbent and Allan Corduner.
Warner Bros. and Alcon Entertainment's PG-rated family drama "My Dog Skip" added theaters in its second week, placing 30th with an OK estimated $0.12 million at 28 theaters (+23 theaters, $4,300 per theater). Its total is approximately $0.18 million.
Directed by Jay Russell, it stars Frankie Muniz, Diane Lane, Luke Wilson and Kevin Bacon.
Fox Searchlight Pictures' R-rated drama "Titus" went a little wider in its fifth week, placing 29th with an OK estimated $0.15 million at 17 theaters (+9 theaters, $8,500 per theater). Its total is approximately $0.5 million.
Directed by Julie Taymor, it stars Anthony Hopkins and Jessica Lange.
WEEKEND COMPARISONS
Key films -- those grossing more than $500,000 for the weekend - took in approximately $78.95 million, down approximately 1.19% from $79.90 million for the comparable weekend last year. The total would have been $76.90 million and down 3.76% if it were not for Buena Vista/Disney's IMAX run of "Fantasia 2000," which placed 16th with an estimated $2.05 million at 54 theaters in the United States (theater count unchanged, $37,963 per theater). Its total is approximately $17.5 million worldwide.
Last weekend's key film gross for three days cannot be compared with the previous weekend, which was a four-day holiday weekend.
Last year, Paramount's second week of "Varsity Blues" was first with $10.57 million at 2,339 theaters and Universal's fifth weekend of "Patch Adams" was second with $8.10 million at 2,909 theaters. The top two films one year ago grossed $18.7 million. This year, the top two films grossed an estimated $16.5 million.
STUDIO MARKET SHARES
Based on business by key films (those grossing $500,000 or more), last weekend's top six distributors were the following:
Sony Pictures Entertainment (Columbia, TriStar) was first with three films ("Stuart Little," "Girl, Interrupted" and "The End of the Affair") grossing an estimated $12.60 million or 16% of the market.
Buena Vista (Touchstone and Disney) was second with six films ("Play it to the Bone," "Toy Story 2," "Fantasia 2000," "Deuce Bigalow: Male Gigolo," "Cradle Will Rock" and "Bicentennial Man") grossing an estimated $12.25 million or 15.5% of the market.
Miramax (Miramax, Dimension) was third with two films ("Down To You" and "The Cider House Rules") grossing an estimated $10.70 million or 13.6% of the market.
New Line was fourth with two films ("Next Friday" and "Magnolia") grossing an estimated $10.45 million or 13.2% of the market.
Universal was fifth with two films ("Snow Falling On Cedars" and "The Hurricane") grossing an estimated $8.48 million or 10.7% of the market.
Warner Bros. was sixth with two films ("The Green Mile" and "Any Given Sunday") grossing an estimated $8.04 million or 10.2% of the market.
ADDITIONAL ESTIMATES
(11) "Toy Story 2"/BV/Disney: Theaters: 1,990 (-336) Gross: $3 million (-39%) Average per theater: $1,508 Total: $231.3 million
(12) "Any Given Sunday"/Warner Bros.: Theaters: 2,201 (-304) Gross: $2.53 million (-47%) Average per theater: $1,149 Total: $70.3 million
(13) "Supernova"/MGM: Theaters: 2,280 (0) Gross: $2.40 million (-58%)(tie) Average per theater: $1,059 Total: $10.1 million
(13) "The Cider House Rules"/Miramax: Theaters: 823 (+6) Gross: $2.40 million (-15%) (tie) Average per theater: $2,916 Total: $15.7 million
(15) "Magnolia"/New Line: Theaters: 1,077 (+39) Gross: $2.25 million (-34%) Average per theater: $2,089 Total: $15.2 million
(16) "Fantasia 2000"/BV/Disney: Theaters: 54 (0) (all IMAX theatres and all in U.S.) Gross: $2.05 million (% decline N/A) Average per theater: $37,963 Total: $17.5 million (worldwide total)
(17) "The End of the Affair"/Sony Pictures (see EXPANSIONS above)
(18) "Bicentennial Man"/BV: Theaters: 1,607 (-609) Gross: $1.60 million (-53%) Average per theater: $996 Total: $54.4 million
(19) "Deuce Bigalow: Male Gigolo"/BV: Theaters: 1,466 (-454) Gross: $1.50 million (-53%) Average per theater: $1,023 Total: $61 million
(20) "Snow Falling On Cedars"/Universal: Theaters: 1,098 (-57) Gross: $1.47 million (-44%) Average per theater: $1,340 Total: $10.5 million
(20) "Anna and the King"/Fox: Theaters: 945 (-560) Gross: $0.90 million (-57%) Average per theater: $950 Total: $35.9 million
(21) "The World Is Not Enough"/MGM: Theaters: 889 (0) Gross: $0.64 million (-39%) Average per theater: $720 Total: $123.5 million
(22) "Cradle Will Rock"/BV: (see EXPANSIONS above)
(23) "Sleepy Hollow"/Paramount: Theaters: 758 (-134) Gross: $0.55 million (-30%) Average per theater: $726 Total: $96.7 million
(24) "Man On the Moon"/Universal: Theaters: 592 (-628) Gross: $0.44 million (-65%) Average per theater: $745 Total: $33.3 million
(25) "Topsy-Turvy"/USA Films: (see EXPANSIONS above)
(26) "Being John Malkovich"/USA Films: Theaters: 190 (-28) Gross: $0.32 million (-27%) Average per theater: $1,680 Total: $20.2 million
(27) "End of Days"/Universal: Theaters: 334 (-112) Gross: $0.23 million (-34%) Average per theater: $675 Total: $65.5 million
(28) "The Bone Collector"/Universal: Theaters: 341 (-43) Gross: $0.20 million (-35%) Average per theater: $575 Total: $65.1 million
(29) "Titus"/Fox Searchlight: (see EXPANSIONS above)
(30) "My Dog Skip"/Warner Bros. (see EXPANSIONS above)
(31) "The Best Man"/Universal: Theaters: 151 (+7) Gross: $0.076 million (-35%) Average per theater: $500 Total: $34.1 million
(32) "Diamonds"/Miramax: (see OTHER OPENINGS above)
(33) "Rear Window"/USA: (see OTHER OPENINGS above)